Deitch Projects (the Grand Street location, 76), is featuring work from Steven Powers (aka ESPO, and the author of The Art of Getting Over which we don’t really know, save for seeing it on the design/alternative art display at St. Mark’s Books). Following a motif he has apparently been developing, much of the work is in the form of signs, clearly fabricated by the sign specialists further east on Grand, or their compatriots, which blanket the exterior. The iconic imagery is both obtuse and one dimensional, but the effect of the garish colored awnings piled up so absurdly is certainly striking, and entertaining, and is an interesting contrast to the polish that is SoHo. They really work when drunken and shrill scenesters stumble along underneath as you look at them, though I don’t think this is something you can request, but must rely on serendipity.
I hate to use the dreaded phrase ‘if you go in for this kind of thing’ but given the language he seems to be setting up, the paintings inside are more effective. My advice is to go at least at night (they have thoughtfully left the interior lit well enough to see the paintings), or twice (day and night). The signs are all interior-lit, consistent with their more pedestrian brethern, and they dominate the streetscape in the dark. Plus, you can stand smack in the center of Grand Street to take it all in.
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More ‘Street Art’.
Deitch Projects (the Grand Street location, 76), is featuring work from Steven Powers (aka ESPO, and the author of The Art of Getting Over which we don’t really know, save for seeing it on the design/alternative art display at St. Mark’s Books). Following a motif he has apparently been developing, much of the work is in the form of signs, clearly fabricated by the sign specialists further east on Grand, or their compatriots, which blanket the exterior. The iconic imagery is both obtuse and one dimensional, but the effect of the garish colored awnings piled up so absurdly is certainly striking, and entertaining, and is an interesting contrast to the polish that is SoHo. They really work when drunken and shrill scenesters stumble along underneath as you look at them, though I don’t think this is something you can request, but must rely on serendipity.
I hate to use the dreaded phrase ‘if you go in for this kind of thing’ but given the language he seems to be setting up, the paintings inside are more effective. My advice is to go at least at night (they have thoughtfully left the interior lit well enough to see the paintings), or twice (day and night). The signs are all interior-lit, consistent with their more pedestrian brethern, and they dominate the streetscape in the dark. Plus, you can stand smack in the center of Grand Street to take it all in.